HISTORY OF A NATURAL HISTORY: MAX ERNST'S HISTOIRE NATURELLE, FROTTAGE, AND SURREALIST AUTOMATISM by TOBIAS PERCIVAL ZUR LOYE A THESIS Presented to the Department of Art History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2010 --------------_._--- 11 "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism," a thesis prepared by Tobias Percival zur Loye in partial fulfillment of the requirements for the Master of Arts degree in the Department of Art History. This thesis has been approved and accepted by: Date Committee in Charge: Dr. Sherwin Simmons, Chair Dr. Joyce Cheng .Dr. Charles Lachman Accepted by: Dean of the Graduate School III An Abstract of the Thesis of Tobias Percival zur Loye for the degree of Master of Arts in the Department of Art History to be taken June 2010 Title: HISTORY OF A NATURAL HISTORY: MAX ERNST'S HISTOIRE NATURELLE, FROTTAGE, AND SURREALIST AUTOMATISM Approved: When Andre BreJon released his Manifesto ofSurrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences. IV CURRICULUM VITAE NAME OF AUTHOR: Tobias Percival zur Loye PLACE OF BIRTH: Princeton, New Jersey DATE OF BIRTH: January 24, 1985 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene DePauw University, Greencastle, IN DEGREES AWARDED: Master of Arts, Art History, June 2010, University of Oregon Bachelor of Arts, Art History and Studio Art, May 2007, DePauw University AREAS OF SPECIAL INTEREST: Surrealism! 20th century modern art Ancient/ Classical art PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2007-2010 Visual Resources, photo editing and archiving, University of Oregon, 2009-2010 Newspaper Ad Designer and Cartoonist, DePauw University, 2004-2007 v GRANTS, AWARDS AND HONORS: Best Editorial Cartoon in College State division, Indiana Society of Professional Journalists, 2006, 2007 First Place, Art History Association Student Acquisition Show, University of Oregon, 2008 Marian Donnelly Award in Art History, "The British Reinvention of the Parthenon and its Sculptural Program," University of Oregon, 2009 PUBLICATIONS: zur Loye, Tobias. Catalogue Entries. In Giuseppe Vasi's Rome: Lasting Impressionsjrom the Age o/the Grand Tour. Forthcoming, 2010. zur Loye, Tobias. "Appropriating Velazquez: Salvador Dales Anachronistic Construction of Aesthetic, National, and Psychological Identity," Oregon Art Review, no. 1 (2009). VI ACKNOWLEDGMENTS I wish to express sincere appreciation to Professor Sherwin Simmons for all the insight and direction that he provided during the preparation of this manuscript. In addition, special thanks are due to Professors Joyce Cheng and Charles Lachman, whose suggestions in the later stages of this project proved to be invaluable. I also thank Professors Michael Mackenzie and Pedar Foss, as their DePauw University art history courses inspired me to pursue further graduate studies. Finally, lowe many thanks to my parents because without their encouragement and support, the development and completion of this project would not have been possible. VB TABLE OF CONTENTS Chapter Page I. INTRODUCTION: "HISTORY OF A NATURAL HISTORy"....................... 1 II. THE SETTING UNDER WHISKEY MARINE... BEYOND PAINTING: ERNST'S EARLY CONCEPTS OF AUTOMATISM 18 III. WHIPLASHES OR LAVASTRINGS: FROTTAGE AND THE MANIFESTO OF SURREALISM............................................................................................... 36 IV. IN THE STABLE OF THE SPHINX: FROTTAGE AND THE NATURAL WORLD 59 V. CONCLUSION: FROTTAGEAFTERHISTOIRENATURELLE 90 APPENDIX: FIGURES 107 BIBLIOGRAPHY 130 Vlll LIST OF FIGURES Figure Page 1. Max Ernst, Kampfder Fische (Battle ofFish), 1917 107 2. Max Ernst, Drawing in Der Strom, no. 1,1919 108 3. Max Ernst, Das Herz, illustration for Johannes Theodor Kuhlemann's volume of poetry, Consolamini, 1919 108 4. Max Ernst, Hypertrophic Trophy, 1919 108 5. Max Ernst, Von minimax dadamax selbst konstruiertes maschinchen (Small self-constructed machine by Minimax Dadamax), 1919-1920 109 6. Francis Picabia, alarm clock print, cover of Dada 4-5,1919 109 7. Max Ernst, Liicheln Sie Nicht (Do not smile), 1919 110 8. Max Ernst, Le cygne est bien paisible (The Swan is quite peaceful), 1920 110 9. Max Ernst, Un peu malade Ie cheval-la belle saison (The Slightly III Horse- The Beautiful Season), 1920 111 10. Max Ernst, Schichtgestein naturgabe aus gneiss lava Isliindisch moos (Stratified Rock Nature's Gift ofGneiss Lava Iceland Moss), 1920 111 11. Max Ernst, Animal Frottage, Telegram to Tristan Tzara, 1921 112 12. Max Ernst, The Trinity ofAnatomy, 1921 112 13. Max Ernst, The Elephant ofCelebes, 1921.. 113 14. Max Ernst, Lessons in Automatic Writing, 1923 113 15. Giorgio de Chirico, The Song ofLove, 1914 114 16. Andre Masson, Dessin automatique (automatic drawing), La Revolution surrealiste, no. 2,1925 114 ix Figure Page 17. Joan Mir6, Peinture au cirque (Painting 0/ the circus), 1925 115 18. Max Ernst, The Stallion and the Bride o/the Wind, Histoire Naturelle (PI. XXXIII) 115 19. Robert Desnos, Sinistres Recontres humaines (Sinister Human Encounters), 1922 116 20. Max Ernst, Whiplashes or Lava-strings, Histoire Naturelle (PI. XXX) 116 21. Max Ernst, The Dead Man's Meal, Histoire Naturelle (PI. XXVIII) 117 22. Max Ernst, The Dead Man's Meal, 1925 117 23. Max Ernst, Histoire Naturelle, wall painting from Paul and Gala Eluard's house in Eaubonne, 1923 118 24. Hans Arp, Biomorphic Drawing, 1917 118 25. Max Ernst, The Earthquake, Histoire Naturelle (PI. V) 119 26. Max Ernst, Microgramme Arp 1:25.000, 1921 119 27. Max Ernst, The Sea and the Rain, Histoire Naturelle (PI. I) 120 28. Max Ernst, The False Positions, Histoire Naturelle (PI. VIII) 120 29. Max Ernst, Scarecrows, Histoire Naturelle (PI. XIII) 121 30. Max Ernst, Teenage Lightning, Histoire Naturelle (PI. XXIV) 121 31. Max Ernst, Eve the only one to Remain ours, Histoire Naturelle (PI. XXXIV) .... 122 32. Max Ernst, In the Stable o/the Sphinx, Histoire Naturelle (PI. XXVII) 122 33. Max Ernst, The Origin o/the Clock, Histoire Naturelle (PI. XXV!) 123 34. Max Ernst, Shaving the Walls, Histoire Naturelle (PI. XXI) 123 x Figure Page 35. Max Ernst, Visible Pear, 1925 124 36. Max Ernst, The Palette ofCaesar, Histoire Naturelle (PI. XX) 124 37. Raoul Ubac, Portrait in a Mirror, 1938 125 38. Max Ernst, Loplop presente (Loplop presents), 1931...... 125 39. Max Ernst, Loplop presente (Loplop presents), 1931 125 40. Max Ernst, La roue du soleil- Grand Marine (The Wheel ofthe Sun - Grand Marine), 1926 126 41. Max Ernst, Aux 100,000 colombes (100,000 Doves), 1925 126 42. Max Ernst, Le fascinant cypress (The Fascinating Cypress), 1940 127 43. Max Ernst, Jeune homme intrigue par le vol d'une mouche non-euclidienne (The Young Man Plots the Theft ofthe non-Euclidian Fly), 1942-1947 127 44. Francis Picabia, La Sainte Vierge (The Virgin Stain), 1920 128 45. Max Ernst, Lajoie la vivre (The Joy ofLife), 1936 128 46. Max Ernst, Little Tables around the Earth, Histoire Naturelle (PI. III) 129 47. Max Ernst, Le Miroir (The Mirror), 1925 129 1 CHAPTER I INTRODUCTION: "HISTORY OF A NATURAL HISTORY" "We know the exact day it happened. On August 10, 1925, in a hotel room in Pornic on France's Atlantic coast, Max Ernst discovered the technique of frottage." I Werner Spies, perhaps Max Ernst's leading biographer, opens his 1968 essay on frottage with this cool statement, which is informed by the 1936 publication of "Au delade la peinture," Ernst's semi-biographic and largely poetic account of his artistic production throughout his engagement with the Dadaist and Surrealist circles.2 Ernst's agenda in "Au delade la peinture" cannot be confined to a single motive, but he certainly endeavored to provide a firsthand account of his varied artistic techniques, arguing for the intrinsic value of each one. The description of his discovery of frottage, the one to which Spies refers, reads as follows: On the tenth of August, 1925... finding myself one rainy evening in a seaside inn, I was struck by the obsession that showed to my excited gaze the floor-boards upon which a thousand scrubbings had deepened the grooves. I decided then to investigate the symbolism of this obsession and, in order to aid my meditative and hallucinatory faculties, I made from the boards a series of drawings by placing on them, at random, sheets of paper which I undertook to rub with black lead. In gazing attentively at the drawings thus obtained... I was surprised by the sudden intensification Werner Spies, Max Ernst: Frottages (1968), trans. Joseph M. Bernstein (London: Thames and Hudson, 1986),6. 2 "Au delft de la peinture," Cahiers d'Art 11, no. 6-7 (1936): 149-184. 2 of my visionary capacities and by the hallucinatory succession of contradictory images superimposed, one upon the other, with the persistence and rapidity characteristic of amorous memories. My curiosity awakened and astonished, I began to experiment indifferently and to question, utilizing the same means, all sorts of materials to be found in my visual field: Leaves and their veins, the ragged edges of a bit of linen, the brushstrokes of a 'modern' painting, the unwound thread from a spool, etc.